“We’re good people right?” – Rosemary Waugh writes on the normal people of Duncan Macmillan’s climate change play.

‘The gesture of care makes the performance feel suddenly more dangerous’: Hannah Greenstreet writes on Clean Break’s production of Alice Birch’s sharply experimental new play.

Drip, drip, drip: Alice Saville writes on Sabrina Mahfouz’s slow-building deluge of a show.

“Heteronormativity…it’s a curse!”: Ava Wong Davies writes on Marina Carr and Yael Farber’s bloody, binary take on Lorca.

Men of magnitude: J N Benjamin writes on Athol Fugard’s semi-autobiographical story of prejudice in a failing South African tea room.

A web of allusions: Hannah Greenstreet unpicks the intricacies of Caryl Churchill’s four-play cycle.

People watching: Verity Healey writes on Alexander Zeldin’s compelling study of a community centre.

Unreliable narratives: Rosemary Waugh writes on Lucy Prebble’s metatheatrical story of Litvinenko’s poisoning.

“Are we laughing with them? At them? What exactly is so funny?” Amy Borsuk writes on the awkward humour of Selladoor’s revival of Falsettos.

Pushing back the tide: Emily Davis writes on Florian Zeller’s study of depression.

Beat ’em up: Simon Gwynn writes on a pugnacious but uneven Tory party satire.

A cryptic racism: J N Benjamin writes on Branden Jacobs-Jenkins’ haunting story, set on a cicada-ridden plantation.

“You don’t need me to tell you about Fleabag”: Alice Saville writes on a theatrical homecoming for Phoebe Waller-Bridge’s much-loved feminist antihero.

Star power: Alice Saville writes on Idris Elba and Kwame Kwei-Armah’s South Africa-set immersive show.

Weather patterns: Rosemary Waugh writes on James Macdonald’s production of Tennessee Williams’ ‘messy, weird’ play.